Chapter 12
Ancient Empires, Ancient Gods
Instructor’s Manual
Overview
In this chapter, introduce Ancient Empires, Ancient Gods and discuss the art of the world
from the first civilizations through to the fall of Rome. Use world maps to place the
ancient civilizations into context. Speak to the everyday role art played in the lives of
these ancient cultures.
Sub Headers
• The First Civilization
o Egypt
o Ancient China
• The Classical World: Greece
o The Classical Age
o Classical Greek Sculpture
o Hellenistic Greece
• The Classical World: Rome
o Imperial Rome
o Roman Architecture
o Organized Conquerors
o Roman Temples
o Roman Painting and Mosaic
o The Decline of Rome
Terms
colonnade
mosaics
naturalistic
oculus
Pax Romanus
rotunda
stoicism
stupa
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Lecture #1
Discussion:
Begin Lecture #1 by discussing the opening section “Timeless Links: The Test of Time.”
Using examples from this introductory section, ask students why they think people are
fascinated with these ancient artworks and what about them makes us travel thousands of
miles just to see them.
Continue the discussion by introducing the earliest known civilizations: Egypt and
Greece. Using examples from the book, trace the development of the human figure in art
from its earliest renderings to Greek sculpture.
Class Questions/Prompts:
Akhenaten Many modern-day viewers of Akhenaten are quite fascinated with the way
he and his family are portrayed, which has led to the pharaoh being referred to as the
“first individual in human history.”
At the time, the way that Akhenaten and his family were depicted was strikingly different
from anything created in Egypt. Even today, we are shocked by the bodies of these
individuals, at how the pharaoh and his family are shown participating in everyday
activities, and at how they are often shown displaying affection toward one another. In
addition, Nefertiti appears next to Akhenaten in many of the surviving works, hinting at
her role in both the family and the government. These new conventions in art were
scandalous. Gone were the rigid forms and stylization, perfect bodies, and strict
organization of space. Instead, we see overlapping, crowded spaces, and interaction
between forms.
Symbolism Using a variety of examples of Egyptian art, discuss the importance of the
use of symbolism. Pharaohs, as well as gods and goddesses, are often depicted with
symbolic items that can be “read” by the viewer. Animals and color were used quite often
in Egyptian artwork and were very symbolic in nature. How do these symbols affirm
Egyptian ideas, beliefs, and religious practices?
Terra-cotta army The terra-cotta army of First Emperor of Qin is an impressive display
of power. The soldiers themselves were manufactured much like terra-cotta pipes made
during the same time period, possibly using an assembly line approach. Despite this
mode of production, each soldier is both life like and life size. The height, uniform, and
hairstyle of the soldiers varies depending on the rank of the individual. Each face was
molded individually, giving each soldier a uniqueness all his own. In addition, the
soldiers were painted and given real weapons, which created an overwhelmingly lifelike
appearance. Discuss the soldiers and other objects found at this burial site. What does the
terra-cotta army tell us about the First Emperor of Qin?
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Ancient Color The work of both the ancient Egyptians and ancient Greeks was vibrantly
colored, which is in stark contrast to how many people view work from these
civilizations today. Using UV analysis of traces of paint still clinging to the surface of the
marble, a German museum has recently re-created many famous works of Greek
sculpture. This same approach has been used on works from ancient Egypt as well.
Compare and contrast what we see today with the color reinterpretations.
Ancient works and today’s technology Time has been both a friend and foe of artwork.
The passage of time has allowed generation after generation to view and appreciate such
ancient works as the Great Sphinx of Egypt, the Parthenon in Greece, and the Army of
the First Emperor of Qin. However, time has also been the catalyst for destruction of such
works, whether purposefully through acts of war, or accidentally through human
carelessness or intervention. Today, technological advances are allowing experts to “re–
create” works long thought lost. But what are the ethical implications? Is it possible that
these experts are changing how these works actually looked in their original form? Where
Exercise #1
1. Analysis
a. Have students make observations on materials, methods,
cultural and historical context.
Figure 12-7 Terra-cotta army of First Emperor of Qin, Lintong, Shenxi,
China, c. 210 BCE.
2. Compare and Contrast
Figure 12-2 Mycerinus and His Queen, Kha-Merer-Nebty II, Giza, 2599–
2571 BCE. Slate schist. Museum of Fine Arts, Boston, Massachusetts.
Figure 12-20 Nike of Samothrace, c. 190 BCE. Marble, approximately 8’
high. Louvre, Paris, France.
Lecture #2
Discussion:
In Lecture #2, introduce Rome. Discuss the influence of Greek art on Roman art. Using
examples from the book, show how the art of Rome reflected the many different
incarnations of the empire. Highlight portraiture and mosaic art.
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Class Questions/Prompts:
The Colosseum The Roman Colosseum is one of the greatest works of architecture
created in the Roman Empire. It was capable of seating about 50,000 people and housed
hundreds of gladiatorial games and other public spectacles. What similarities does the
Colosseum have to today’s stadiums? What sorts of public spectacles happened in the
Colosseum? Who were gladiators?
Exercise #2
1. Analysis
a. Have students make observations on materials, methods,
cultural and historical context.
Figure 12-26 Attributed to Apollodorus, Column of Trajan, Rome, AD
113 CE. Marble, 128’ High. Rome, Italy.
Figure 12-27 Detail of Trajan’s column
2. Compare and Contrast
Figure 12-24 Augustus of Prima Porta, c. 20 BCE. Marble, 6’ 8” high.
Vatican Museums, Vatican State.
Figure 12-32 Battle of Romans and Barbarians on the Ludovisi Battle
Sarcophagus, from Rome, Italy, c. 250–260 CE. Marble, approx. 5’ high,
Museo Nazionale Romano-Palazzo Altemps, Rome, Italy.